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John Raphael Smith (1752-1812)Portrait of Rev Richard Robinsonafter Joshua Reynoldsmezzotint45cm x 35cmwith a second mezzotint depicting Lord Viscount Milton (2) Framed and glazed. Extensive wear and foxing to both artworks, as well as loss to the frames.

William Lawson (1892-1946) 'Saint Barnabas', 'Saint Oswald' and 'Resurrected Christ'three stained glass tracery window designs, pencil and watercolour, each signed 'W. Lawson 1931'the largest 370 x 75cm and 306 x 73cm;together with four smaller tracery designs,each entitled 'Raphael J'; 'K'; 'O'; 'P', for the New East Window of the Parish Church of All Saints, Portsea, Portsmouthlargest 174 x 39.5cm;and the sketch elevation design for the New East Window, inscribed and titled43 x 61cm, and a small tracery fragment (10)William Lawson (1892-1946) was the first managing director and chief designer of Faith Craft-Works (later Faith Craft), which was based in St Albans. The enterprise came into being in the mid-1920s, when the Society of the Faith decided to add a non-profit-making enterprise specialising in church art to its existing publishing arm, Faith Press. Lawson worked in a style that harked back to the Middle Ages.Condition ReportAll with stains, tear to the ends and edges, rolled - but have fold marks. Elevation design has cut out missing and is creased, rolled and stained.Christ resurrected - split and torn through the centred 1/2 was through from the top, also from the bottom. Creased, tears to the sides and fold marks.

Autographed Editions Autographs, including Murray Walker, Raphael Maklouf, Cliff Morgan, James Nesbitt, Gloria Hunniford, John Hurt, Charles Kennedy, etc in two albums (40)

Christoph Schwarz, Raphael Sadeler - Allegory of death / Description: Allegory of death, after Christoph Schwarz: a naked boy sitting with his right hand resting on a hourglass, a vase and a skull on the right; beyond, a funeral monument at right and wheat and flowers at left. The theme of the ears of corn and the few fallen grains around the skull are an equivalent of the ideas resurrection and expresses the idea that Man when dead and buried will be resurrected. The grains of corns create new plants. Within image: 'cum. grat. et privilegio S. C. M.' and 'Hodie mihi, cras tibi', and below: 'Cristoff Swarz pinxit, R. Sadeler scalpsit', with two lines of Latin inscription: 'Vita quid est hominis?... illa bonis brevis est'. Engraving made by: Raphael Sadeler I, after: Christoph Schwarz (1595-1592) / Dimensions: 15,00 x 10,40 cm / Condition: Good impression with a little wear to the plate. Good condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (212) / Medium: Engraving /Circa: C.1580-1590 320

Raphael Sadeler, Maerten de Vos - The Choleric temperament / Description: Ceres with a sickle and ears of corn stands next to Mars, the god of war. Mars symbolizes the choleric, quick-tempered temperament. Weapons lie at his feet. Behind them plundering and arson-setting soldiers. Left Minerva. At the top left, middle and right signs of the zodiac: Aries, Leo and Sagittarius, which correspond to the element of fire. Under a four-line, Latin caption. Engraving by Raphaël Sadeler (I) after design by Maerten de Vos, publisher by Raphaël Sadeler in Antwerp in 1583 as part of a series of four plates (Hollstein 1482-1485). / Dimensions: 19,20 x 24,20 cm / Condition: A good strong impression on Gothic P watermarked laid paper, complete with full plate border and tread margins, narrow at right and beneath text line. Fixed with the borders only on a support sheet. Slightly wrinkled near top border. / Literature: Hollstein Dutch 196 / Medium: Engraving /Circa: 1583 280

Raphael Sadeler, Maerten de Vos - The Sanguinic temperament / Description: Flora of the personification of spring sits next to a youthful man in front of a pergola. They depict the sanguine temperament of the epicureans. In the back left some couples of love near a fountain. Dancing couples at the back right. On top signs of the zodiac: Gemini, Libra and Aquarius, which correspond to the element of air. Under a four-line, Latin caption. Engraving by Raphaël Sadeler (I) after design by Maerten de Vos, publisher by Raphaël Sadeler in Antwerp in 1583 as part of a series of four plates (Hollstein 1482-1485). / Dimensions: 19,00 x 24,40 cm / Condition: A good strong impression on Gothic P watermarked laid paper, complete with full plate border and tread margins. Unobtrusive diagonal fold upper right corner. / Literature: Hollstein Dutch 194 / Medium: Engraving /Circa: 1583 280

Complete set of nine archangels, Maerten de Vos, Gerard de Jode / Description: Complete set of nine archangels on three engravings: Michael, Uriel, Raphael, Tead Kiel, Piel, Mittaron, Gabriel, Jophiel, Raziel. Three engravings after Maerten de Vos (1532-1603), by a Flemish engraver in the region of Gerard de Jode (1509-1591). Published in Antwerp by Gerard de Jode ca 1583-1585. Rare complete series of the Archangels. One found in the Rijksmuseum Hollstein Dutch 767. All in very good condition. Strongly inked impressions on laid paper with large margins. With a watermark in the shape of a a lion or some mythical . / Dimensions: 20,00 x 28,80 cm each / Condition: Good strong, good inked impressions with nice plate tone with full plate borer and margins on watermarked laid paper. Sime thumbing in the bottom margins. A uniform set. / Literature: Hollstein Dutch 765-767 --- Related drawing for all three prints divided over three musea (Cambridge, Darmstadt and The Louvre Paris, all dated 1583 on the drawing. / Medium: Engraving /Circa: 1583-1585 600

QUEEN ELIZABETH II RAPHAEL MAKLOUF GOLD PROOF SOVEREIGN

After Raphael (Italian, 1483-1520)Madonna della SeggiolaOil on canvas76 x 76cm

Italian School, 20th CenturyA putto, an allegory of literatureOil on panel24 x 18cmTogether with an oill of a cherub after Raphael, an engraving of Nymphs and Satyr after Cipriani and two engravings of Putti after Mola (5)

Ralph, Benjamin. The School of Raphael, Or, The Student's Guide to Expression in Historical Painting, illustrated with engravings by Duchange and others under the inspection of Sir Nicholas Dorigny, London: John Boydell, 1782. Folio, illustrated with 102 engraved plates, plus an engraved title commencing this section (total 103), pp. 8, [i], 6-21, [i], this peculiar pagination conforming to the example recorded by WorldCat [OCLC, 1119895239]. Contents generally good & bright, pale staining affecting around half of the plates, rebound in half crushed morocco, sold with all faults. Scarce

Y&nbspAFTER RAPHAEL THE BRIDGEWATER MADONNA Bodycolour on ivory, rectangular 11 x 9cm (4¼ x 3½ in.)Please note: Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: F9WMTWJY Provenance: Sale, HB Auction, Hambleton Hall, 27 September 1979 Private Collection, Northamptonshire Please note measurements do not include the frame unless otherwise stated. Condition Report: Unexamined out of glazed frame. Vertical crack running down the right edge. Please note Dreweatts are not liable for damage to frames or mounts.Condition Report Disclaimer

Literature, various. PRONTI (Domenico) Nuova Raccolta della Citta di Roma, 2 parts in one, no date, part 1 lacks title page, 85 engraved plates (2 images per plate), paper wrappers, variable foxing and staining; TAUNTON (T H) Portraits of Celebrated Racehorses of the Past and Present Centuries, 4 vols. 1887-88, 4to, plates, some toning, modern green cloth binding; FRANKAU (Ronald) Diversion Rhymed, colour illustrated by Laurie Tayler, no date, [circa 1940], Raphael Tuck & Sons, boards; an ink manuscript book written between 1803 and 1805, with numerous extracts from published travel works, including from J. T. Dillon's Travels through Spain, Pallas's Russia, Mackenzie's Voyage (1801), Hodges's Travels in India (1794), etc., with subject index at end, front board detached; The Florist and Pomologist, 3 vols., 1871, 1876 and 1877, 8vo, colour plates, some foxing and toning, worn cloth backed boards; BLACKMORE (R D) Lorna Doone, 1921 reprint, 8vo, colour plates, half calf; 4 others including odd volumes. Sold not subject to return. (15)

John Raphael Smith (1751-1812) after George Morland Return from Marketmezzotint, published 180137 x 57cm

An Italian steel engraving by Paolo Fidanza, after Raphael, 38 x 27cm

European school, follower of Raphael (1483-1520): The Marriage of the Virgin, oil on canvas, 19th C.Work: 102 x 67,5 cm 'The Marriage of the Virgin', also known as 'Lo Sposalizio', was completed in 1504 for the Franciscan church of San Francesco, Citta di Castello. The painting depicts a marriage ceremony between Mary and Joseph. It changed hands several times before settling in 1806 at the Pinacoteca di Brera (link).

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 2 pounds (double sovereign), 1987. Royal Mint. Proof. Third crowned head of Elizabeth II facing right; RDM on truncation; ELIZABETH · II · DEI · GRA · REG · F · D. Design by Raphael Maklouf. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.FDC. Reference: S-SD2 (was 4261); KM-944Mintage: 1,801.Diameter: 28.4 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1993. Royal Mint. Proof. Third crowned head of Elizabeth II facing right; RDM on truncation; ELIZABETH · II · DEI · GRA · REG · F · D. Design by Raphael Maklouf. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded PCGS PR70 DCAM, certification number 48393923. Coin Value Index (CVI): £1582.62 on 2024-03-13.Click here to read about the Coin Value Index.PCGS population in this grade: 15, equal-finest graded.Reference: S-SC2 (was 4271); KM-943Mintage: 4,349.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1987. Royal Mint. Proof. Third crowned head of Elizabeth II facing right; RDM on truncation; ELIZABETH · II · DEI · GRA · REG · F · D. Design by Raphael Maklouf. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded PCGS PR69 DCAM, certification number 48833839. Coin Value Index (CVI): £719.91 on 2024-03-13.Click here to read about the Coin Value Index.PCGS population in this grade: 37.PCGS population in higher grade: 19.Reference: S-SC2 (was 4271); KM-943Mintage: 9,979.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1994. Royal Mint. Proof. Third crowned head of Elizabeth II facing right; RDM on truncation; ELIZABETH · II · DEI · GRA · REG · F · D. Design by Raphael Maklouf. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded PCGS PR70 DCAM, certification number 48393925. Coin Value Index (CVI): £1159.28 on 2024-03-13.Click here to read about the Coin Value Index.PCGS population in this grade: 11, equal-finest graded.Reference: S-SC2 (was 4271); KM-943Mintage: 4,998.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

JOHN WARRINGTON WOOD (1839-1886) A CARVED MARBLE GROUP 'SISTERS OF BETHANY' DATED 1876 Depicting the scene as told in the Gospel of John, chapter 11, with Martha entreating her sister to meet with Christ and with the imminent resurrection of their brother Lazarus to follow, signed, inscribed and dated in cursive script on rear of chair J. WARRINGTON WOOD Sculpt Rome 1876, plinth inscribed: "SISTERS OF BETHANY, THE MASTER IS COME AND CALLETH FOR THEE" approximately 109cm high, base 49 by 33.5cm John Wood was a sculptor mainly of mythological and biblical subjects, and also portrait busts. Born in Warrington, Lancashire in 1839, he adopted Warrington as his middle name to distinguish himself from the older sculptor John Wood (1801-70). After training as a stonemason, he moved to Rome in 1865 where he studied under John Gibson. His success afforded him the wealth to purchase the Villa Campana. He exhibited works at the Royal Academy of Arts from 1868 to 1884 including a version of this sculpture in the 1879 Royal Academy Exhibition, catalogue No. 1509, which was displayed in the Central Hall.In 1877 he was elected to the Guild of St. Luke in Rome and his statues of Raphael and Michelangelo stand at the entrance to the Walker Art Gallery in Liverpool with further work in Manchester Town Hall and in the museum and art gallery in Warrington. Another version of this work, dated 1871, is currently exhibited at the Kibble Palace, Glasgow Botanic Gardens, Glasgow, Scotland. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with surface dirt- some of which is engrained leading to a yellowish tint in some areas. With some wear and minor losses including but not limited to: Seated figure: left hand's fingers- loss and repair Standing figure- repair to thumb of her right hand Natural flaws and veining to stone, with some remedial infill- mostly probably at time of carving including but limited to: sections of raised edges of drapery to reverse. Hairline faults including to seated figure left forearm, stains to standing figure right forearm and small scattered spot stains throughout Some edge wear and nibbles including to raised areas of drapery to reverse, bottom edge of plinth including larger loss to front corner Approx 200kg- requires careful lifting and transit Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Raphael Tuck & Sons (Publishers), Travelling on the Liverpool and Manchester Railway, 1831, a set of four hand-coloured prints on two sheets.

° ° Evans, C.S - The Sleeping Beauty, illustrated by Arthur Rackham, Heinemann, 1920; Irving, Washington - Rip Van Winkle, illustrated by Arthur Rackham, with 24 colour plates, Heinemann, 1916; Phillpots, Eden - A Dish of Apples, illustrated by Arthur Rackham, with 3 tipped-in colour plates, Heinemann, [1921]; Carroll, Lewis - Alice’s in Wonderland and Through the Looking Glass, illustrated by Harry Roundtree, Collins’ Clear-Type Press, [c. 1933] and Attwell, Mabel Lucie (illustrator), Capt. Edric Vredenburg (editor) - Mother Goose Nursery Rhymes, Raphael Tuck & Sons Ltd, [c. 1915], (5)

Tobias heilt die Augen seines blinden Vaters Römischer Meister, um 1700 Interieur mit zahlreichen Personen, im Zentrum trägt Tobias seinem Vater Tobit Fischgalle auf die Augen und heilt somit dessen Blindheit, links der Erzengel Raphael, mit dem er vorher auf Reisen war und von dem er den Rat zur Heilung erhielt. Öl/Lwd., wachsdoubliert. 36,5 x 42,5 cm.

Tobias gibt seinem Vater Tobit das Augenlicht zurück Italienischer Meister, 1. H. 17. Jh. Mithilfe von Fischgalle in einer Schale heilt er seinen Vater von der Blindheit, links der Erzengel Raphael, von dem er auf seiner vorangegangenen Reise begleitet wurde. Öl/Lwd. 87 x 114 cm; unger. - Randmängel.Altes Testament, Altmeistergemälde, Christentum, Malerei Italien

Marcantonio Raimondi (ca. 1480-1527/34): Zwei Frauen mit dem Zodiakus (29 x 19,5 cm); Raphael (1483-1520): Maria mit Kind (18 x 14,5 cm) und die Hl. Jungfrau mit hl. Elisabeth und hl. Anna (24 x 17 cm). (spätere Abzüge)

Francois Hippolyte Moreau (French, 1832-1926), a bronze figure of Raphael, signed Hip Moreau, on a marble base with plaque, 'Raphael par Hip Moreau: Beaux Arts', height overall: 74cm

Piero di Cosimo, 1432 Florenz – 1521, zug.MADONNA MIT DER SCHWALBEÖl auf Holz.87 x 63 cm.Verso zwei Festigungs-Querleisten.Wenngleich das Gemälde in der Gesamtauffassung sofort an die Nachfolge Raffaels denken lässt, und wenn auch der Kreis um Girolamo di Benvenuto da Siena ins Gespräch gebracht wurde, so lassen Detailbeobachtungen entschieden mehr an Piero di Cosimo denken. Im Gegensatz zu fast allen Madonnenmalern, die dem Gesicht der Maria eher nachdenklichen Ernst gegeben haben, ist in den Marienthemen des Piero weit häufiger, um nicht zu sagen geradezu einzig bei ihm, ein zufriedenes Lächeln zu sehen, wie dies auch hier im Bild der Fall ist. Gezeigt ist die traditionelle Dreiheit von Maria mit dem Jesuskind und dem Johannesknaben. Zum Optimismus, den der Maler dem Bild zu vermitteln beabsichtigt hat, zählt auch die Zutat der Schwalbe, die von Jesus an einen feinen Faden gehalten wird, ist dies doch das Symbol für die Auferstehung und das ewige Leben. Dem entspricht auch das Lächeln, mit dem das Jesuskind dem Betrachter entgegenblickt. Dagegen hält der Johannesknabe das dem Leben Jesu bevorstehende Kreuz, hier aus dünnen Stängeln gestaltet. Auffallend ist hier neben diesen Detailbeobachtungen auch die betonte Feinheit beim Faden des Vogels, wie ebenso beim Kreuz des Johannes. Ein Gestaltungscharakter, der womöglich noch gezielter auf einen bestimmten, noch nicht eruierten Meister verweisen könnte. Im leicht zum Büchlein herabgeneigten Kopf der Maria wird erkennbar, dass sich der Maler mit der perspektivischen Verkürzung auseinandergesetzt hat. Farbkompositionell korrespondiert das markant ins Bild gebrachte Schwarz der Schwalbe zu der betont schmalen Borte am roten Kleid, sowie dem Einband des Gebetbuches in der Hand. Ein solcher Farbkontrast ist auch in seinem gleichthematischen Bild von 1505/10 zu beobachten. Der landschaftliche Hintergrund, der eine Talmulde zeigt, ist – gegenüber den Raffaelmadonnen – ein etwas späterer Bildgedanke, der bereits einen Einfluss von Leonardo erkennen lässt. Dies stimmt auch mit dem überein, was wir über Piero di Cosimo und dessen malerische Entwicklung bereits wissen. A.R.Literatur: Vgl. Mina Bacci, Piero di Cosimo, Mailand 1966. Vgl. Anna Forlani Tempesti, Elena Capretti, Piero di Cosimo. Catalogo completo. Florenz 1996.Vgl. Alexander Rauch, in: Rolf Toman (Hrsg.), Die Kunst der italienischen Renaissance, Teil Malerei, Köln 1994. (1392021) (11)Piero di Cosimo,1432 Florence – 1521, attributedTHE VIRGIN AND CHRIST CHILD WITH A SWALLOW Oil on panel.87 x 63 cm.Two parquetting slats on the reverse. Although the overall design of the painting immediately suggests a successor of Raphael, and although the circle around Girolamo di Benvenuto da Siena has been considered, details rather point towards Piero di Cosimo. In contrast to almost all Madonna painters, who gave the Virgin’s face a more thoughtful, serious expression, Piero’s Virgins are often, maybe uniquely, depicted with a contented smile as is also the case in the present painting. The composition shows the traditional trinity of The Virgin Mary with the Christ Child and the Infant Saint John. Adding to the optimism which the painter intended to convey is the depiction of a swallow, held by the Christ Child on a fine thread, as a symbol of the resurrection and eternal life. This also corresponds to the Christ Child’s smile directed at the viewer. In contrast, the Infant Saint John is holding the cross, here made of thin stalks, which foreshadows the death of Christ. Striking details are also the extreme fineness of the bird’s thread as well as the cross held by John. Compared to the Madonna depictions by Raphael, the landscape background showing a valley is a later pictorial idea that already shows the influence by Leonardo.

Luca Penni, um 1500 Florenz – 1556Schüler Raffaels (1483 – 1520).MADONNA MIT DEM KIND, DER HEILIGEN ANNA UND DEM JOHANNESKNÄBLEINÖl auf Kupfer.24,5 x 19,5 cm.In altem RahmenBeigegeben ein Gutachten von Prof. Pierluigi Carofano und Emilio Negro. Ferner eine technische Analyse von OTID, Milan, 29. Februar 2024; jeweils in Kopie. Die Vierergruppe dicht beisammen vor landschaftlichem Hintergrund mit Blick auf eine Meeresbucht in abendlicher Stimmung. Am Meeresufer Pyramiden, rechts oben eine ruinöse Burganlage mit intaktem Gebäude und einem jungen Baum. Diese Bilddetails sind zweifellos symbolischen Charakters. Hauptinhalt der Darstellung ist jedoch die Interaktion zwischen dem Johannesknaben und dem Jesuskind, die ein Gespräch illustriert. Johannes deutet aufgeregt auf Jesus im Sinne einer Voraussage, während jener sich in den Schutz der Mutter zurückzieht. Der Malstil verrät die Lehre bei dem berühmten Raffaelo Santi. Bevor der Maler nach Frankreich ging, arbeitete er zusammen mit Perino del Vaga in Genua und Lucca. König Franz I beauftragte ihn mit der Ausstattung des Schlosses Fontainebleau, wo er zusammen mit seinen italienischen Kollegen Francesco Primaticcio und Rosso Fiorentino arbeiten konnte. Quellen belegen, dass er neben Malereien auch Entwürfe für Tapisserien schuf, sowie Zeichnungen, wie jene zur „Geretteten Diana“, als Vorlagen für den Wandschmuck, der noch nach dem Tode von Franz unter dessen Sohn Heinrich II ausgeführt wurde. Ab 1550 lebte Penni in Paris, wo er alsbald Zeichnungen für Kupferstecher lieferte, in denen er Werke seines Lehrers Raffael zum Vorbild nahm und Texte antiker Schriftsteller bildlich belebte. In dieser Wirkung wurde er zum Vorreiter des französischen Klassizismus, basierend auf dem Manierismus Italiens. Zu Sammlern seiner Werke zählte auch Louis XIV. Literatur: Vgl. Penni (Luca), in: Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays. Bd. 8: O‘Keefe-Robbia, Paris 1976. (1391991) (11)Luca Penni,ca. 1500 Florence – 1556Student of Raphael (1483 – 1520).THE VIRGIN AND CHRIST CHILD, SAINT ANNE, AND INFANT SAINT JOHN THE BAPTIST Oil on copper.24.5 x 19.5 cm.Accompanied by an expert’s report by Professor Pierluigi Carofano and Emilio Negro. Furthermore, a technical analysis by OTID, Milan, dated 29 February 2024; each in copy.

Raphael, 1483 – 1520, nachMADONNA VON LORETOÖl auf Leinwand. Doubliert.127 x 97 cm.In vergoldetem Rahmen.Im Wesentlichen übernimmt der Maler die bekannte, im Musée Condé Chantilly, befindliche Komposition von Raphael von 1511, die im Übrigen fast die gleichen Maße aufweist wie das vorliegende Bild und sich einst vermutlich in der Sammlung Scipione Borghese befand. Eine Bettstatt mit weißen Laken und Kissen leitet in das Gemälde ein, auf welchem das Christuskind liegt und seine Arme emporreckt. Maria hinter dem Bett stehend, nimmt Bezug auf das Kind, indem sie einen Arm in Verkürzung nach vorn streckt und einen transparenten Schleier herabhängen lässt, nach dem das Kind zu greifen im Begriff ist. Rechts hinten Josef sich auf einen Stab stützend. Die Rückwand textil abgehangen, rechts unten ein Wappen mit Helmzier. (1391115) (1) (13)Raphael, 1483 – 1520, afterMADONNA OF LORETO Oil on canvas. Relined.127 x 97 cm.Essentially, the painter follows the famous composition by Raphael from 1511 held at the Musée Condé (Chantilly, France). Incidentally, it has almost the same dimensions as the painting on offer for sale in this lot and was probably once held in the Scipione Borghese collection.

Postcards/Ephemera, a selection of approx. 140 items, mostly Tuck related, inc. 2 scarce Tuck pamphlets 'Latest List of Tuck Postcards 1903' and 'The Romance of the House of Raphael Tuck & Sons Ltd' (centenary edition)(copy); also hand painted postal stationery, other postal stationery, greetings cards, Mulready envelope (poor/fair), pre stamp covers, penny post (unused). Sold with large quantity of empty Tuck and other publishers envelopes (poor/gd)

Postcards, a mixed selection to include Russia, Patriotic Military Leaders through the centuries 1949 set of 8 in original packet, 1906 Ipswich Parliamentary Liberal Souvenir, Chazelle Bal du Moulin Rouge Advert, Younger’s Scotch Ale Advert, Raphael Kirchner La Guerra Amusante – Attaque (vg) (12)

A Champlevé enamel and onyx holy water stoop, 19th century, the central panel depicting a section of the Madonna della Seggiola after Raphael set within a Champleve mount with trefoil cross surmount, the shaped onyx panel with brass back and hanging loop, 18cm high

A set of nine portrait mezzotint engravings, second half of the 18th century, including:'Miss Frances Woodley', by Harry Scott-Bridgwater, after George Romney,'Lady Mary Isabella Somerset, Duchess of Rutland', by Samuel Cousins,'Francis Rawdon-Hastings, 1st Marquess of Hastings' and 'Sir Edward Hughes, K.B.', by John Jones,'Lieutenant-Colonel Banastre Tarleton', by John Raphael Smith, 'Miss Harriet Powell', by Richard Houston, after Sir Joshua Reynolds,'Henry Dundas, 1st Viscount Melville', by George Dawe, after Sir Henry Raeburn, and'King William IV', by James Ward, after Sir Martin Archer,predominantly approximately 62 x 38cmframed 82.5 x 59cm (9)Condition ReportOverall the prints are in good condition. There are two copies of 'Lieutenant-Colonel Banastre Tarleton' and one is unmounted. There are a few handling creases, areas of foxing and discolouration of the paper. Francis Rawdon-Hastings and 'The Duke of Clarence' unmounted. Not inspected out of frame. Please see additional images for reference.

A set of seven portrait mezzotint engravings, late 18th century, to include:'Sir Harbord Harbord, Bart', by John Raphael Smith,'The Hon George Cranfield Berkeley', by Henry Birche, after Thomas Gainsborough,'Lady Elizabeth Keppel', by Edward Fisher,'Mrs Matthew Ellis' and 'Elizabeth, Countess of Derby', by William Dickinson,'Mary Amelia Cecil, Marchioness of Salisbury', by Valentine Green, after Sir Joshua Reynolds, 'Mrs Woodhull', by Richard Houston, after Johan Joseph Zoffany,each in an ebonised and gilt-metal-mounted Hogarth frame,various sizes, largest 66 x 46cm, framed 82 x 62cm (7)

British School (19th Century)Travelling on the Liverpool and Manchester Railway, 1831Plates III and IVColoured lithograph23 x 64cmPublished by Raphael Tuck & Sons, London & New York, 1894

Postcards, Glamour, a modern album of artist drawn and photographic cards, including: 4 C Hilton Longley, 2 S Longley, 5 Raphael Kirchner, 3 T. Corbella amongst others (approx. 117)

Postcards, Military, a modern album of just pre and during the Great War, including: 37 Gale & Polden Histories & Traditions and Every Regiment & Corps; 17 Raphael Tuck Oilettes; and 37 others (approx. 91)

Postcards, Military, a modern album of Boer and Great War cards, including 54 Raphael Tuck Oilettes; 111 others including: 14 Geligné Buttferly Girls, 12 Vivien Mansell, some with undivided backs (approx. 165)

Nicolas Dorigny (1658-1746)Psyches et amoris nvptiae ac fabvlaTen Mythological Scenes after Raphael, with title pagedepicting Venus, Cupid, and others in an architectural settingengraving37.5cm x 65cm Qty: 10 Clear wear to all artworks, including foxing, spotting and creasing, especially around the borders. Unframed.

A pair of torchères, mannerist, silver, triangular base with "claw-and-ball" feet and "Plant elements", interior with iron spike, Spanish, 17th/18th C., missing two plant elements, differences in decoration, minor bruises, without marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2nd, no. 2, paragraph c). Notes: identical copies are represented in FERNANDEZ, A; MUNOA, Raphael; RABASCO, George. - “Enciclopedia de la Plata española y Virreinal americana”. Madrid: Edición de los autors: Asociación Española de Joyeros, Plateros y Relojeros: Federación Española de Anticuarios y Almonedistas, 1984, 1992, p. 428, fig. 1425., Dim. - 39 cm; Peso - (bruto) 3.064 g.

An album of mostly early 20th century postcards of various themes including greetings, birthday and military examples. Also including White Star Line and Raphael Tuck & Sons St Patricks Day examples. 200+ cards

19th century Continental porcelain plaque, of oval form, painted with the Madonna and Child after Raphael, unmarked, possibly KPM, H12cm W9cm Condition Report:Some light surface scratches and significant wear to blue fabric lower right.

Hasegawa, Shoichi (geb.1929, in Paris lebender japanischer Maler und Grafiker) - "Maison d'enfants" (1984), Original-Radierung, unten rechts mit Bleistift signiert, mittig betitelt, links num. 17/99, Druck: Atelier Robert, Verlag: Galerie Edition Raphael, Darstellungsmaße ca. 18,5 x 26 cm, im Passepartout unter Glas gerahmt, Gesamtmaße: 42 x 49 cm

Hasegawa, Shoichi (geb.1929, in Paris lebender japanischer Maler und Grafiker) - "Francfort en fête" (1994), Original-Farblithografie auf Arches-Papier, Auflage: 99 Ex., Druck: Art Estampe, Verlag: Galerie Edition Raphael, unten rechts mit Bleistift signiert, mittig betitelt, links num. 73/99, Darstellungsmaße ca. 64 x 48,5 cm, im Passepartout unter Glas gerahmt, Gesamtmaße: 90 x 72,5 cm

Thomas Fairland (English 1804-1852) after Raphael, Mother and Child, lithograph, label verso, framed. (72.5cmx53cm)

Gibran, Kahill: Twenty Drawings With an Introductory Essay by Alice Raphael, First Vintage Books Edition, 1974, signed to the endpage Steve Harley 1974. (1)Lots 501-518 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert.

NEUNZEHN GRAFIKEN DES 16. bis 19.JH., darunter Domenico Vito, "Der griechische Held Diomedes", Kupferstich. 34 x 24,6 cm, Jacques Callot, H. Wierx, H. Hondius, Raphael Sadeler nach Breughel und Grablegung nach Raphael, Beham, Hans Sebald: Bauerntanz (Januar und Februar), Kupferstich, 5 x 7,2 cm, 1546, B. 154, und ders. "Des Jahres Ende", Kupferstich, 5 x 7,3 cm, 1546, B. 160, Blatt 7 der Folge. P. Schenck nach van Dyck "Omnia vincit Amor", ungerahmt

Basilius Magnus (Basilius von Caesarea): Opera. Köln: E. Cervicornus 1523. 28,3 x 20 cm. Mit illustr. Hz.-Titelbordüre. 8 Bll., 180 num. Bll. Mod. HLdr. mit Rs.(Minimal berieben. Titel mit hs. Besitzvermerk und einer gelöschten kurzen Notiz. Die ersten und letzten Blatt mit größeren Feuchtigkeitsspuren und etwas gebräunt. Einzelne Blätter mit kleinem Wasserrand im Außerrand bzw. Falz. Leicht bis stärker braun- bzw. gebrauchsfleckig. Das letzte Blatt mit 3 (1 hinterlegten) Papierfehlstellen.)VD16 B 640. Adams B 333. BM STC, S. 69. Panzer VI 394, 429. Pfugk-Hartung Taf. 86. - Dritte lateinische Gesamtausgabe der Werke des Kirchenlehrers und Bischofs von Cäsarea, besorgt von Johann Argyropilus, Georg von Trapezunt, Raphael Volaterra und Rufinus Presbyter.

JESUS RAPHAEL SOTOKinetische Bilder - Tableaux cinetiques. Ausstellungs-Katalog Museum Haus Lange, Krefeld 1963. 32 x 23 cm. Mit 3 OrStrukturtafeln mit Schraffuren in Schwarz und Weiss (dav. 1 auf Plexiglasfolie) von J. F. Soto. 1 Text- und 1 Abbildungsbogen. OrBroschur-Mappe.Exemplar in zweifacher Ausführung.

Ten Little Kittens, pub. Raphael Tuck & Sons Ltd.

A vintage boxed Dartington Glass 'Raphael' footed comport, designed by Frank Thrower - sold with a boxed 'Bordeaux' pattern decanter and a boxed bowl

* Carpi (Ugo da, circa 1470-1532). The Deposition, after Raphael, circa 1520, chiaroscuro woodcut printed from three blocks in dark brown, ochre, and black on laid paper, with thick black printed outer border to top and right hand sides only, central horizontal crease, generally a good impression with margins, 367 x 300 mm mount aperture (14 1/2 x 11 7/8 ins), framed and glazed, with manuscript notes to verso by Michael JaffeQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.Bartsch XII, 43, 22. Illustrated Bartsch volume 48 (Chiaroscuro Woodcuts V), 22.

* German Nazarene School. The Coronation of Saint Nicholas of Tolentino, after Raphael, attributed to Joseph von Fuhrich (1800-1876), pencil on laid paper, 23.2 x 15.3 cm (9.2 x 6.1 ins), laid down on modern backing paper, hinge-mounted in modern window mount, inscribed in pencil to lower margin by Michael Jaffé 'Joseph Fuhrich (Keith Andrews)', (mount size 46 x 32 cm), together with Design for a stained glass window, attributed to Johan Anton Alban Ramboux (1790-1866), pencil on cream wove paper, depicting a saint in church robes holding a book and thin staff, within an arched surround, with landscape in the background, pencil annotations in German to right blank margin, sheet size 22.4 x 20 cm (8.85 x 7.9 ins), tipped-on to later grey backing paper, window-mounted, with two small strips of old backing card mounted below with further pencil inscriptions (one giving the name Palma Vecchio), and pencil attribution to the window mount by Michael Jaffé 'Ramboux cf. rare article in Wallraf-Richartz Jahrbuch'QTY: (2)NOTE:Provenance: Michael Jaffé (1923 –1997), art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.The first work depicts the lower portion of Raphael's early Baronci altarpiece, The Coronation of Saint Nicholas of Tolentino (1501), showing the saint standing within an arched architectural chapel, flanked by angels with the devil sprawled at his feet. This Nazarene drawing is almost certainly a copy after the version of Raphael's Baronci altarpiece commissioned in 1791 from the artist Ermenegildo Costantini (active 1776–1791) to replace the Raphael which was largely destroyed in an earthquake of 1789 (Copy of Lower Part of Raphael’s Coronation of Saint Nicholas of Tolentino, 1791, now in the Pinacoteca Comunale, Città di Castello) The present drawing may date from Fuhrich's time in Rome between 1827 and 1829.The pencil inscription in German to the right blank margin of the second drawing reads: 'Nasenflugel zu breit / Augen grossartiger / besonders das obere Augenlid / im .... breiter', translating as: 'side of the nose too wide / eyes greater / especially the upper eyelid / in .... wider'. Ramboux trained initially at the Munich Academy in 1815, and then resided in Rome for extended spells between 1817 and 1827, and 1829 to 1841. In 1844 he became curator of the Wallraf Collection at Cologne.

* Skippe (John, 1742-1811). Five chiaroscuro woodcuts from Amicis suis necnon unicuique Artium elegantiorum Amatori, Tabulas insequentes Ludentis Otii temporibus ligno incisas, 1781, including A Group of Monks and a Woman, after Rubens, chiaroscuro woodcut from four blocks on cream laid paper, 'P: P: Rubbens inv. / Joan: Skipp scul.' to top right, with narrow margins, research notes to verso of frame in ink, small closed tear to left edge, handling creases to lower margin, tipped onto backing board at each corner, image size 37.7 x 23.4 cm (14 3/4 x 9 1/4 ins), sheet size 39 x 34.4 cm, framed and glazed, and Seated Young Man, after Michelangelo, chiaroscuro woodcut from four blocks in maroon on laid paper, 'Typum hunc / a M. Angelo / Scheda [...] Joan Skippe / D 1781' to lower right, trimmed to image, sheet size 18.7 x 15.8 cm (7 1/4 x 6 1/4 ins), framed and glazed, with Male and Female Caryatid, after Raphael, two chiaroscuro woodcuts printed in pale green and black, both trimmed to image, image size 6.8 x 8 (6 3/4 x 3 1/4 ins) respectively, framed and glazed, together with the Frontispiece to the collectionQTY: (6)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.

* Martin (John, 1789-1854). Adam and Eve - The Morning Hymn, 1825, mezzotint on laid paper, a proof of the small plate version of Paradise Lost by John Milton, printed by J Lahee, and published by Septimus Prowett, 1825, overall toning, 27.3 x 37.1 cm (10 3/4 x 14 5/6 ins), toned to verso, mounted (40.5 x 50.5 cm) together withWith the Approach of the Arch Angel Raphael and Adam and Eve Driven out of Paradise, two mezzotints on laid paper, proofs from the small plate version of Paradise Lost by John Milton, printed by J. Lahee, and published by Septimus Prowett, 1825, some handwritten notes in brown ink to lower margin, some overall toning, some light abrasion to paper lower middle, closed tear to right margin to latter, 29.6 x 39 cm (11 6/8 x 15 3/8 ins), mounted (40.5 x 50.5 cm), plusEarlom (Richard, 1743-1822). Liber Veritatis, No. 104 & 125, from the Original Drawing in the collection of the Duke of Devonshire, after Claude Lorrain, published by John Boydell, 1st Sept 1775 & 1st Jan 1776, mezzotints, plate size 20.8 x 26 cm (8 1/8 x 10 1/4 ins), both mounted, framed and glazed (40 x 45 cm) and Lake Zuz, a mezzotint by Ruskin after Turner, in need of some restorationQTY: (6)

* Smith of Derby (Thomas, 1721-1767). View of Shipping on the River Avon from Durdham Down, near Bristol, circa 1756, oil on canvas, relined (cleaned and revarnished by Hamish Dewar Ltd, 14 Mason's Yard, Duke Street, St. James's, London, SW1Y 6BU), 51 x 119.5 cm (20 x 47 ins), Frost and Reed stock (6752) labels, with artist and title details, 'River Avon Scene, Bristol', Hamish Dewar Ltd sticker (marked Davies 1411), and 2004 auction sticker (lot 136) to verso, late 18th century English carved and gilded fluted frame with rosette corners (66 x 135.5 cm)QTY: (1)NOTE:Provenance: Edith and Eleanor Frost, daughters of Walter Frost of Frost & Reed; thence by descent to John Pilkington, (son of Christopher Pilkington, rector of St. Stephen's Church, Bristol from 1968); Sotheby's The British Sale: Paintings, Drawings and Watercolours, 1st July 2004, lot 136 (hammer price £12,000); Estate of Martin Davies, Bristol (owner's documentation supplied with this lot).Literature: Francis Greenacre, From Bristol to the Sea, Artists, the Avon Gorge and Bristol Harbour, 2005, page 28:"Thomas Smith of Derby (c.1720 - 1767)View from Durdham Down c.1756Oil 490 x 1170 mm Private collectionOne of the advertised features of a visit to the Hotwell was the pleasure of riding on the broad unbroken stretches of turf on the Downs. Here, an elegant carriage with postillions and outriders approaches Sea Walls. Mr E. Owen in his guide to the Hotwell published in London in 1754 wrote: "For those who love riding there is the finest country in the world; and, even for carriages, nothing can exceed it; the Downs are spacious and open, and we enjoy healthful exercise in a pure air…". The artist, Thomas Smith of Derby may first have come to the Hotwell for his health, for we know that he was to die here on 5 September 1767. It is also possible that it was the growing reputation of the spectacular landscape of the Avon Gorge that first attracted him to Bristol. He painted two opposing views of the Avon Gorge from the Downs, one looking back towards the Hotwell and the present view which is also known in two other versions. This particular elongated version was probably a commission for an overmantel or overdoor. Both views were engraved in 1756. Smith was self-taught and much of his work, especially his many landscapes of his home county, is unencumbered with the self-conscious allusions to the work of earlier Continental painters such as Claude Lorrain, Gaspar Dughet or Salvator Rosa that are found in the work of many landscape painters at this time. He did, however, give the middle names of Correggio to one son and of Raphael to the other. In this painting the sparring goats in the foreground are probably derived from engravings after Claude."This view from the Downs looks towards Sea Walls on the right and clearly shows the wall built by John Wallis in 1746 for the safety of visitors to the Hotwells. Beyond is the somewhat elongated tower, known as Cook’s Folly. It was built by John Cook, the City Chamberlain, at the end of the seventeenth century to embellish his Sneyd Park estate. In the centre far-distance, is Vanbrugh’s Penpole Lodge, an eye-catcher and spectacular vantage point for King’s Weston House. The red-tiled roof towards the left is the New Hotwell, a second hot-spring discovered in 1702. John Wesley visited for three weeks in 1754 and found it ‘free from noise and hurry’, but by the 1780's it was just a shelter for the quarrymen. The elegant couple just above the goats may well be headed for the New Hotwell and they appear to be on a newly-quarried path that still survives within today’s dense woodland. Opposite Cook’s Folly on the Somerset side of the Avon is a rare glimpse of the castellated Manor House of Abbotts Leigh, home of the Gordon family, West India merchants and plantation owners. This was to be replaced early in the nineteenth century by Leigh Court, but higher up the hillside. In the centre foreground are three gentlemen, one with a hammer, another holding a geode, perhaps. They may be very early amateur geologists in pursuit of Bristol Diamonds, a feature of the Avon Gorge that had been celebrated since the sixteenth century.

* Wright of Derby (Joseph, 1734-1797). Portrait of John Harrison, surgeon of Derby, circa 1781, oil on canvas, half-length in three-quarter profile to left, wearing a plain dark vest, coat, and white cravat, 74 x 61 cm (29 x 24 ins), gilt moulded frameQTY: (1)NOTE:Provenance: Nathaniel Curzon, Esq., 1870; thence by descent to John Curzon of Lockington Hall, Derby (Derby Art Gallery labels for Joseph Wright of Derby exhibition loans for 1934 & 1947 to verso); acquired by the current owner's family at Christie's, King Street, London, 21 March 1975, lot 81. Literature: Benedict Nicolson, Joseph Wright of Derby, 1968, vol. 1, pp. 69-70, 200-201; vol. 2, p. 122, plate 199. 'Not only is the portrait listed in the Account Book among portraits of c. 1781, it also belongs stylistically to this date or slightly earlier. The subject must therefore be wrongly identified as John Harrison, clock-maker and inventor of a marine chronometer who died in March 1776 before Wright got back from Bath. Wright calls him a doctor, so he is probably the "surgeon in Wardwick", Mr. John Harrison, in whose house the daughter of Edward Wilmot of Duffield died (see Derby Mercury, 24th September 1786). He is described in Derby Mercury, 11th October 1781 as having died: "surgeon aged 64..." The portrait could show a man of c. 56.' (Nicolson, ibid., pp. 201-203). John Harrison (circa 1723-1787), surgeon of Derby, was appointed the first surgeon to Derby Gaol, on compulsion by Act of Parliament, in 1774, Timothy Pitman becoming a partner in this role in 1784. A notice in the Derby Mercury (13 December 1771) advertises the resumption of Harrison's inoculation service 'for the Season, to Inoculate as usual, on Mr. Sutton's Plan'. A mezzotint engraving from this portrait was engraved by John Raphael Smith (1751-1812), circa 1781

Marco Dente, called Marco da Ravenna (c.1486-1527) Laocoön Engraving, circa 1520, a slightly worn impression on laid paper with watermark of six-pointed star within a circle surmounted by an additional smaller six-pointed star [apparently not in Briquet], sheet 471 x 324 mm (18 1/2 x 12 3/4 in), trimmed within the platemark, some spotting, surface dirt and handling creases, with drying crease with repairs to splitting, tipped at edges onto Stirling-Maxwell's mount (unframed)Provenance: Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners.Together with a group of 4 other Italian old master prints: Marcantonio Raimondi (1480–1527) The Judgement of Paris, after Raphael [B.245] and Parnasuss, after Raphael [B. 247]; Domenico Barbiere (1506-1565) The Brazen Serpent, after Michelangelo; and Cherubino Alberti (1553-1615) Mary Magdalen standing on clouds, being transported to heaven by angels, [B. 63] (5)

GAUGUIN PAUL: (1848-1903) French Post-Impressionist painter. A rare and very interesting lengthy Autograph Manuscript draft article by Gauguin, four pages, folio, n.p., n.d. [late 1889], in French. The draft article is untiltled, although would later be published as "Huysmans et Redon". Gauguin responds in this article to Huysmans's writing on visual arts, stating in part `Huysmans est un artiste, son mouvement d´impulsion se traduit dans une expulsion en littérature. Beaucoup de peintres voudraient être musiciens ou litérateurs. Lui voudrait être peintre. Il l´aime la peinture. A différentes époques des critiques ont paru de lui.... Depuis il s´est fait un grand changement en lui car il a soif d´art et ne craint pas de marcher sur ses erreurs. Nous l´en félicitons´ (Translation"Huysmans is an artist, his impulse movement translates into an expulsion in literature. Many painters would like to be musicians or men of letters. Huysmans would like to be a painter. He loves painting. At different times critics have appeared about him... Since then a big change has taken place in himself because he is thirsty of art and do not fear to walk on his own errors. we do congratulate him for this") Further Gauguin criticises the terms on which Huysmans has written about Odilon Redon and disputing Huysmans's understanding of other artists ancient and modern including Francesco Bianchi, and referring to Rembrandt and Rapahel, states in part `Je ne vois pas en quoi Odilon Redon fait des monstres - Ce sont des êtres imaginaires. C´est un rêveur, un imaginatif.... Voyez l´oeuvre de Rembrandt de Raphael et quelle relation intime entre tous ses modèles femmes et hommes et son portrait...´ (Translation: "I don't see how you can say that Odilon Redon makes monsters - They are imaginary beings. He is a dreamer, an imaginative.... See the work of Rembrandt, Raphael, and what an intimate relationship between all his female and male models and his portrait..."). Further again, Gauguin refers extensively to Gustave Moreau `...Son mouvement d´impulsion est bienloin du coeur, aussi il aime la richesse des biens matériels...´ (Translation "...His impulsive movement is very far from his heart and he loves the richness of material wealth..." and refers also to Puvis de Chavanne with some unconnected notes at the end `Coco de mer - Coco a deux parties qui s´entrouvent comme le sexe femelle d´où sort un énorme fallus qui va se piquer en terre pour germer. Les habitants l´ont considéré lontemps comme le fruit défendu de l´arbre de la science du mal et du bien´ (Translation "...Coconut in two parts which open like the female genitalia, from which emerges an enormous phallus which embeds itself in the earth to germinate. The inhabitants have long considered it as the forbidden fruit of the tree of the knowledge of good and evil") An extremely interesting thoughts by Gauguin, saying in differents parts of his manuscript `...Je veux dire par là que le peintre ne opeut illustrer un livre et vice versa. Il peut décorer son livre oui, y ajouter d´autres sensations qui s´y rattachent... De la laideur - Question brûlante et qui est la pierre de touche de notre art moderne et de la critique.... D´un volcan vous en refroidissez la lave et d´un sang bouillonant vous en faites une pierre. Fût-elle un rubis ...mais on veut des rubis et on les vend aux trafiquants de diamants! En somme Gustave Moreau est un beau ciseleur. En revanche Puvis de Chavannes ne vous sourit pas... La simplicité la noblesse ne sont plus d´époque. Que voulez-vous éminent critique d´art, ces gens là seront un jour de leur époque....´ (Translation: "By this I mean that the painter cannot illustrate a book and vice versa. He can decorate his book yes, add other sensations attached to it... Of ugliness - A burning question and which is the touchstone of our modern art and criticism.... Of a volcano you cool the lava and from boiling blood you make a stone. Was it a ruby...but we want rubies and we sell them to diamond traffickers! In short, Gustave Moreau is a great engraver. On the other hand, Puvis de Chavannes does not smile at you... Simplicity and nobility are no longer of the times. What do you want, eminent art critic, these people will one day be of their time...") A letter of excellent contant and association. Extremely small tears to the bottom edge of the second page, otherwise G to VGIn the present letter, Gauguin criticises the art criticism of the "decadent" critic Karl-Joris Huysmans. These typically combative notes, attacking the taste of the great literary champion of the Impressionists, were written when Gauguin was back in Paris after his fraught sojourn with Van Gogh in Arles, and was beginning to turn his mind to Tahiti. At the heart of his argument is the figure of Odilon Redon, who was in fact a friend of both men. Huysmans had written some of the first positive reviews of Redon's art, which had played a vital role in establishing him in the art world. Both Redon and Gauguin had exhibited in the 8th Impressionist exhibition of 1886, and by the late 1880s Redon was one of the few artistic contemporaries of whom Gauguin spoke with unambiguous respect. Gauguin is responding to a chapter of Huysmans's "Certains" on Redon entitled "Le Monstre" (1889). To Huysmans, Redon was an artist of fantasy, creating distorted monsters to express modernity - a visual equivalent of contemporary decadent and symbolist literature. Gauguin refutes this, claiming that Redon's imagination is an expression of nature. This article was dated by Guérin, who notes that it was first published in Les Nouvelles littéraires, 7th May 1953. Interestingly, the manuscript shows significant differences from the published text, with a number of important sentences silently omitted or re-ordered. Karl-Joris Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.Odilon Redon (1840-1916) French Painter. Best known for his Dreamlike works inspired by Japanese art.Gustave Moreau (1826-1898) French artist, an important figure in the Symbolist movement.Pierre Puvis de Chavannes (1824-1898) French painter.